Borderline Festival 2018 | 5th Day / ONASSIS CULTURAL CENTRE
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Borderline Festival 2018 | 5th Day

Sunday 22 April

Borderline Festival 2018


22 APR 2018
Outside the OCC & Upper Stage
Concert with seeds, balloons and tubes at the Agricultural University, a sound recording walk on Mount Hymettus, improvisations, modern electronics/contemporary electronic music and processing and a concert that explores the wilderness of the Siberian landscape. Thatʼs how the Borderline says goodbye.
Free entrance events and events with tickets

Presale: OCC's Friends - 21 March | General - 28 March, at 12:00
5th Day | PROGRAMME
Sunday 22 April

18:00
Pierre Berthet | Concert for various objects

Agricultural University of Athens | Admission free | within the Geometries exhibition
Reservation is required. For reservations, please contact infotickets@sgt.gr (providing name, surname and mobile phone number) | Limited seats will be available one hour before the event, on a first come first served basis.

21:00-23:00
Oren Ambarchi & Crys Cole
Inner Space: Siberia (HELM, Moa Pillar & EFTD)

Upper Stage | OCC | 7 € (Full price) - 5 € (reduced, OCC's Friends, Groups 5+ people, Unemployed, People with disabilities & Companions)


PARALLEL EVENTS

Pierre Berthet | The goodwill of Aeolus | Sound Installation

Agricultural University of Athens | Vineyard | Admission free | within the Geometries exhibition
Friday 20 April: 17:00-21:00
Saturday 21 - Sunday 22 April: 12:00-21:00

12:00-17:00
Lawrence English: Radical Listening | Field Recording Workshop

OCC-Hymettus | Admission free
Reservation is required. For reservations, please contact infotickets@sgt.gr (providing name, surname and mobile phone number)

credits

Curated by: Michalis Moschoutis

Pierre Berthet's participation is supported by:

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Oren Ambarchi is a composer and multi-instrumentalist with longstanding interests in transcending conventional instrumental approaches. His work focuses mainly on the exploration of the guitar, "re-routing the instrument into a zone of alien abstraction where it’s no longer easily identifiable as itself. Instead, it’s a laboratory for extended sonic investigation" (The Wire, UK).
Oren Ambarchi's works are hesitant and tense extended songforms located in the cracks between several schools: modern electronics and processing; laminal improvisation and minimalism; hushed, pensive songwriting; the deceptive simplicity and temporal suspensions of composers such as Morton Feldman and Alvin Lucier; and the physicality of rock music, slowed down and stripped back to its bare bones, abstracted and replaced with pure signal.
Crys Cole is a Canadian sound artist working in composition, improvised performance and sound installation. Generating subtle and imperfect sounds through haptic gestures, she creates textural works that continuously retune the ear, delicately seeking to both reveal, and obscure, the intricacy of seemingly mundane sounds and sources. She has exhibited and performed in Canada, Europe, Japan, Thailand, Australia, and the USA. In addition to her ongoing collaborations with James Rushford and Oren Ambarchi (AU), she has also worked with Keith Rowe, Lance Austin Olsen, Jamie Drouin, Mathieu Ruhlmann, Tetuzi Akiyama, Seiji Morimoto, Jessika Kenney, Tim Olive and many more. Her work has been published on labels Black Truffle, Penultimate Press, Touch, MeGO, caduc, Bocian, Another Timbre and Infrequency editions.
http://orenambarchi.com
https://cryscole.com

Inner Space: Siberia” sees PAN-affiliated artists Helm and EFTD (involving Greek architect Stefanos Levidis and actress Sofia Georgovassili) perform alongside Russian musician Moa Pillar. Together they will perform a piece that explores the wilderness of the Siberian landscape, working with personally sourced audio and film, including footage shot around Novosibirsk and the Altai Mountains. This work was commissioned by Unsound Festival, with support from CTM Berlin and the Goethe-Institut Novosibirsk.

Helm is Luke Younger, a sound artist and experimental musician based in London, working with a vast array of revolving instrumentation and abstract sound sources. Younger’s compositions build dense aural landscapes that incorporate elements of musique concrète and industrial music alongside hallucinatory drones and various acousmatic phenomena.
https://hhelmm.bandcamp.com
 
In the context of the collaboration between Geometries and Borderline Festival, Pierre Berthet will present a sound installation of wind harps (20-22 Απριλίου), and two performances.
For this sound installation with the title The goodwill of Aeolus (20-22 April), Pierre uses various suspended can-resonators linked with wires and activated by small motors and possible winds. 
On Saturday 21 April he will present Tom Johnson’s Galileo, a composition/instrument that swings on five pendulums. The slowest of these hangs from a line about 260 cm long, suspended from a height of about 4 meters. The other four pendulums must be carefully measured, following the formula discovered by Galileo Galilei some 500 years ago, so as to make their cycles in 1/2, 2/3, 3/4, and 4/5 the time necessary for the longest. A sequence of short compositions allow us to hear all the different combinations of tempos. The piece has evolved slowly from three pendulums to five, from 10 minute to over 40, in a variety of situations.
On Sunday 22 April he will present a Concert for various objects. Music with drops, balloons, tubes, stones, vacuum cleaners, snail and mussel shells, hooks, dry plants, seeds etc. Blowing, hitting, shaking, moving, singing.
Since the 90s, Pierre Berthet has been designing and building sound objects and installations using steel, plastic, water, magnetic fields, vacuum cleaners, dry plants, seeds and various objects he finds in nature. Pierre Berthet studied percussion with André Van Belle and Georges-Elie Octors, improvisation with Garrett List, composition with Frederic Rzewski, and music theory with Henri Pousseur.
Lawrence English: Radical ListeningField Recording Workshop
Participants can be at any stage of their interest in field recording from beginner to expert and can use any recording device they have available (iphone through to profession set ups).
The participants will meet at the OCC, where at first they will attend Lawrence English’s masterclass at Level -3, which will last between one and one and a half hour. Following this, they will be transported by shuttle bus at Hymettus, where Lawrence English will lead a field walk with listening and field recording, for about one and a half or two hours. A closing session/conversation will follow at the Municipal Refectory, and by 17:00 participants will have returned at the OCC by shuttle bus.
Over the past 10 years, Lawrence English has been one of the leading international voices in field recording. Working extensively across the world, from Antarctica to the Outback and the Amazon to Japan, his recordings display an utterly personal approach informed equally by technique, theoretical investigations and aesthetic interests. 
It is these unique approaches to field recording that form the basis of this masterclass. The Radical Listener sees Lawrence English guide participants through the specific techniques of field recording and listening he employs in his work. 
The Radical Listener has been presented at numerous festivals and universities including Unsound (Poland), Resonant Forms (Los Angeles), Substrata (Seattle), Brown University (Rhode Island) and as a lecture at the University Of Porto (Portugal), Harvard (Boston) and many other locations. 
Lawrence English is composer, media artist and curator based in Australia. Working across an eclectic array of aesthetic investigations, English’s work prompts questions of field, perception and memory. He investigates the politics of perception, through live performance and installation, to create works that ponder subtle transformations of space and ask audiences to become aware of that which exists at the edge of perception. 
http://www.lawrenceenglish.com

sponsoring / partnerships

PART OF

Transportation sponsor

Hospitality sponsor

Medical cover

Supported by